FOUR years had tocked by since York Theatre Royal Youth Theatre last performed on the main stage, but the 16-19 age group have brought that hiatus to an end with spectacular success.

The omens were encouraging. Firstly, the main house has been redeveloped with stalls seating that positively invites interplay with the stage, now that it is so much closer; an intimacy that youth theatre director Kate Veysey leapt on with glee for The Witches.

Now the three-day run is over, it is safe to reveal that the coven of witches, in wigs, prim suits, stockings and gloves, some female, others male, hairy legged and bearded – which should have been a clue – suddenly rose as one from the stalls seats to take their places at their annual meeting.

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"You may remove your wigs". Picture: James Drury

This was held at a shabby grand hotel on the south coast on a set reminiscent of Mark Walters' steampunk design for this summer's Sherlock Holmes: The Hound Of The Baskervilles.

More than reminiscent, in fact, in the show's second good omen. Designer Gem Greaves worked with Walters' framework, adding where necessary, while Veysey took advantage of the chance to use shadow puppetry, as seen in Sherlock, and now applied on a big, frightening scale here once the children in Roald Dahl's story are turned by witchcraft into mice.

Veysey had a splendid production team working with her: Mud Pie Arts' Jenna Drury as assistant director to "tone down Kate's dark side"; composer Dominic Sales for a score that always complemented the scene; Alexandra Stafford-Marshall's lighting to make the most of the set design and York Minster Mystery Plays animal costume designer Beckie May for the amusing puppet mice costumes.

Special praise goes to wardrobe supervisor Chloe Bower, in particular for her prosthetics for the Grand High Witch's mask and the witches' itchy, wart-covered skull caps.

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Rebekah Burland as Grandmother and Maddie Drury as Boy. Picture: James Drury

David Wood is a master adaptor of children's stories, so who better to bring Dahl to the stage, maximising his powers of storytelling. Veysey's cast were in their element, from Rebekah Burland as the kindly but witch-fixated Scandinavian Grandmother, to her adventurous grandson, Maddie Drury's Boy, and Dominic Sorrell, the show's most amusing turn as the fatty food-loving hotel guest Bruno Jenkins, especially when transformed into a mouse.

Molly Levitt's German-Russian accent and haughty demeanour well suited the Grand High Witch in Molly's first lead role for the company and Stan Gaskell made the most of his cameo as Bruno's dad, constantly in need of a drink.

The ensemble company of witches had fun spooking the audience, taking orders for chocolate at the interval, and being creepy and ever watchful as they sniffed the air for any signs of children.

The Witches was frightening in places, funny in others, and fantastic throughout. It surely won't be another four years before York Theatre Royal Youth Theatre returns to the main stage again.